Saturday Aug. 5, morning

Main hall (Kungasalen)

09.00-10.00 Keynote Johan Sundberg: Teaching – Facts – Future

The presentation will review some new possibilities that voice research can offer vocal pedagogy.

10.30-11.00 Pedro de Alcantara: “Yara Rahoy”: An Elastic Song

In this workshop I’ll introduce an extremely simple, bouncy short song I’ve written called “Yara Rahoy.” The song, an eight-bar phrase in 6/8 time, contains multiple elements that allow the singer to study elasticity in voice, breath, rhythm, and in the behavior of the tongue and throat. To being with, we’ll focus on separate elements: vowels, diphthongs, consonants of various types, pulse, measure, superbar structure, prosody, and the timing of breath-taking. Then we’ll put it all together and use the inherent elasticity built into the song as a springboard to psychophysical integration.

11.15-12.45 Masterclass David Jones

Presentations, other venues


‘Rise and shine – your early- morning wake-up call’

Bossa-nova with Luciano Silva


Women Composers on Broadway: Leading the Way in the Last Ten Years

This session examines the growing number of women composers making significant contributions to the Broadway musical theatre, and recognizes the increase in international premieres, i.e. Lucy Simon’s 2015 musical Doctor Zhivago (Australia, Seoul, Helsinki). Audio/video excerpts introduce attendees to new repertoire for the studio and stage.

Linda J. Snyder: Professor Emerita of Voice and Lyric Theatre at the University of Dayton (Ohio USA); active soprano, conductor, and coach-accompanist; current President of the National Association of Teachers of Singing.

Repertoire | Lilla salen

French pronunciation in song and its specificities

The major difficulties for French diction in song are the great variety of vowels and the oddities of the language, mainly “mute e” endings, liaisons and accent. Experimental phonetics are a solid reference at the hour for poetry to stand the test of music. A masterclass in a varied repertoire is the opportunity to demonstrate the discoveries in diction research and apply it to appropriate voice technique and taste.

Jean-Yves Bosse-Vidal, baritone, sang on stage and has taught singing and French lyric diction for 25 years. With his Master’s degrees in Spanish, Musicology and Phonetics of song, he’s currently completing his research independently.

Pedagogy | Nathan Milsteinsalen

Choral Phonetics: how vowels control the intonation in ensemble singing.

Choral phonetics is a new way of looking at voice projection and timbre. It introduces a practical method for singers and voice teachers as well as a new theoretical approach to controlled formants based on an new scheme of the exact position of overtones in the vowel chart.

Wolfgang Saus is a freelance overtone singer and voice scientist from Aachen, Germany.

Pedagogy | Seminarie 1

Aerodynamic properties of the flow ball: possible applications in training singers & Real-time visual feedback of airflow in voice training using the flow ball

Flow phonation has been indicated as the most efficient phonation type in classical singing. This workshop explores the use of different types of semi-occluded vocal exercises with the provision of real-time visual feedback of airflow to develop this type of phonation in classically trained singers.

Dr. Filippa  (PhD) is an internationally recognized scientist, singer and singing teacher. Grounded on a self-centred approach, she is interested on the provision of guided awareness using meaningful feedback and evidence-based teaching methods in her voice studio.

Pedagogy | Seminarie 2

Palpatory skills for voice teachers

The aim of this presentation (with a slide show and live demonstrations) is to encourage voice teachers to use their palpatory skills (manually sensing) along with their audiokinestethic one when teaching. In this lecture the focus is in the chin/jaw area, TMJ-joint, hyoid bone and the larynx.

Ms Kirsi Vaalio is a VoiceWell-practitioner and osteopath, MMus. She runs a private clinic inHelsinki, Finland. She also gives workshops and trainings for bodyworkers, singers and voice teachers in anatomy, physiology etc.

Workshop | Movement room

10.00-10.30 Morning Coffee


Learning from each other : collaborative expertise in Nordic higher education, pop&jazz vocal pedagogy.

This presentation discusses the results of a project between pop/jazz vocal teachers in Nordic countries’ higher education, in which they shared professional expertise and co-constructed new knowledge. The focus of this presentation is on the findings of challenges and solutions of vocal pedagogy co-created by the participants.

Susanna Mesiä is a senior lecturer, musician and a doctoral researcher. Her research interests include popular music and jazz vocals, pedagogy, and collaborative processes in educational settings.

Pedagogy | Lilla Salen

The Hole in the Sky – finding the path through the tenor passaggio

Guiding tenors into the upper extension requires patience, evidence-based approaches, and positive reinforcement. This workshop will help teachers who lack experience with tenors, or teachers who wish to learn new approaches.

John Nix, tenor, is Professor of Voice and Vocal Pedagogy at the University of Texas at San Antonio, USA. He has published more than 25 articles and edited or contributed to 5 books.

Pedagogy | Nathan Milsteinsalen

Fatigue Resistance Training: Application to the Singing Voice

Although mechanisms of central and peripheral skeletal muscle fatigue are well described in the exercise literature, little thought has been given to fatigue resistance aspects of voice performance training. Inclusion of fatigue resistance principles in voice training may offset vulnerability to the development of voice disorders.

Matthew Hoch, DMA, is Associate Professor of Voice and Coordinator of Voice Studies at Auburn University. He is the author of three books and numerous articles related to singing and voice pedagogy.

Mary J. Sandage, Ph.D., CCC-SLP, is Assistant Professor of Department of Communication Disorders at Auburn University. She is recognized for her clinical expertise in the areas of voice and upper airway disorders.

Pedagogy | Seminarie 1

Benjamin Britten: A Study in Vocal Acoustics

Benjamin Britten is a perfect example of a composer who seemed to know exactly how to compose for the voice, particularly the tenor voice. The aim of this paper is to present a vocal acoustics and relevant musical analysis of Benjamin Britten’s Serenade for Tenor, Horn and Strings, and A Charm of Lullabies for Mezzo Soprano and Piano to demonstrate that his gift was no accident.

Tenor Kevin Hanrahan has performed nationally and internationally. He has presented at national and international conferences and is a frequent reviewer for the Metropolitan Opera’s Opera News.

Matthew Clegg is a DMA candidate at the University of Nebraska-Lincoln.  He has sung several opera roles including Paul Andal in the North American Premiere of Culture! Culture!

Pedagogy | Seminarie 2

An anatomy-based ‘Embodied’ motor imagery technique to aid the training of the muscles of singing

Sharing my research of 9 years to show the efficacy of motor imagery in training the muscles of singing that are not under conscious control and finding a language to express this. Showing the results of research at UCL and University of Cardiff working with anatomists, neuroscientists on groups of singers being trained with the method and then assessed objectively.

Nicola Harrison – lecturer in Singing and Interpretation at Pembroke College Oxford, Author of The Wordsmith’s Guide to English Song, writer in singing related media such as Classical Music Magazine, scriptwriter, director and mezzo-soprano at ‘Casa Margarita’ and ‘Winetown’. Vocal Coach to the Choirs at Exeter College and Balliol College.  Researcher into anatomy and the brain and their application to the training of singers.

Pedagogy / research | Movement room


Round table: How to Coach Pop & Rock Singers for the Rigors of the Road (until 12.45)

Contemporary vocal coaches need to guide their professional students to help them survive world tours and 8 shows a week for musical theater with their voices intact.
This round table features three internationally known, contemporary voice coaches who will share their experience regarding this difficult and vital challenge.

Lisa Popeil, MFA in Voice, is the creator of the Voiceworks® Method and the “Total Singer” DVD with over 40 years teaching experience. Singer, author, voice researcher and international lecturer.

Daniel Zangger Borch, Ph.D. in Music Performance is one of Sweden’s most recognized voice professionals. Author of “Ultimate Vocal Voyage”, he is also a professional singer and songwriter.

Kim Chandler is a leading contemporary vocal coach and pedagogue. Former past president of British Voice Association with 20 years as a session singer and creator of “Funky ‘n Fun” training series.

Health | Lilla Salen

Verklärtes Jahr: The lieder of Joseph Marx

Our lecture-recital explores and analyses Joseph Marx’s only song cycle, Verklärtes Jahr (Transfigured Year), a significant, yet rarely performed work from his lieder output. Marx’s gift for melody and tonal language is highly apparent in these unusual songs set by five different poets. Information related to his compositional style from the perspectives of both singer and pianist will be disseminated.

Dr. Tracelyn Gesteland, mezzo-soprano, is an Associate Professor of Voice and Opera and holds the Buhler Endowed Chair at the University of South Dakota (USA). She is an active performer on the concert, recital, and opera stage.

Collaborative pianist Amanda Johnston is Associate Professor of Music at the University of Mississippi. She is the author of English and German Diction for Singers: A Comparative Approach, 2nd edition (Rowman & Littlefield, 2016).

Repertoire | Nathan Milsteinsalen

A Firm Foundation: Defining Acoustic Expectations for Classical Singing in the Female Primo Passaggio to Aid Low and Middle Register Development

Developing and training a female classical singer’s middle voice requires a balanced interplay of source activity and resonance strategies. Preliminary research will be presented seeking to define middle voice acoustic expectations. Technical training methods will be demonstrated utilizing live singers and real-time spectral analysis.

Katherine Osborne (DMA/Singing Health Specialist, The Ohio State University) is an actively performing operatic mezzo-soprano. She is currently an Instructor of Voice at University of Northern Iowa.

Jean-Ronald LaFond (DMA, University of Michigan), tenor, has concertized and teaches voice internationally. He is an opera studio faculty teacher at Kappellsberg Musiklinje of Härnösands Folkhögskola.

Pedagogy | Seminarie 1

Introduction to objective anlysis of the singing parameters

Our reaction to singing performances is influenced by voice and interpretation as well as by genre and preferences. However, the objective singing parameters and the connection between cause and effect in singing is a key to understanding the musical qualities of singers in all genres through the recording history from Caruso until today.

Claes Wettebrandt has scientifically explored the relation between the art of singing and acoustics. He is a voice coach since 30 years and the headmaster of Studio Blue, a competence center in music.

Research | Seminarie 2

“I like to sing”: What motivates children to begin and continue singing lessons?

Children between the ages of 7 and 11 years old, were interviewed about their personal opinions on themselves as singers and their motivation for initializing and continuing singing lessons. It was found that, regardless of whether lessons were self- or other-initialized, lessons were continued due to self-motivational factors.

Janine Magnin is a singing teacher in London and Hertfordshire and has a Bmus, LTCL (Musical Theatre Performance), PGCE and an MA (Music Education) from the Institute of Education (UCL).

Pedagogy | Movement room


Round table: How to Coach Pop & Rock Singers for the Rigors of the Road (continued)

Pedagogy | Lilla Salen

Songs of Franz Liszt (lecture recital)

The prolific nineteenth century Hungarian composer, Franz Liszt, is better known for his piano and orchestral literatures than his vocal works despite their profound beauty. His songs are not commonly sung. Why is it? Liszt’s famous Virtuosic Style is depicted in his art songs dramatically; they present extremely wide ranges and gapping intervals with the contrasting dynamics-sudden changes from soft singing in a high register to forceful singing in a low register within the same melodic phrase. In this lecture recital, a comparison of the Virtuosic Style in Liszt’s piano transcriptions and the songs will be followed by a vocal performance presentation.

Soprano Hein Jung has performed in major cities throughout the US and Korea. In 2015, Centaur Records released her recording, Songs of Franz Liszt (CRC 3386), and this received a review from American Recording guide as “Hein Jung has the perfect voice-terrific ease in her upper register and a silvery clear tone.” Jung is an Associate Professor of Music and head of the vocal program at The University of Tampa, FL.

Repertoire | Nathan Milsteinsalen

The pedagogy of pedagogy

Most if not all vocal pedagogy courses necessarily cover the anatomy and physiology of the singing voice. But vocal pedagogy is far more than how the body works when it sings. How do pedagogy courses incorporate training teachers into the curriculum? Do they? Is there time in only one semester to cover all the necessary anatomy and physiology, and still teach students how to apply this information in the voice studio? This presentation will offer solutions for the necessary integration of teaching skills and supervised teaching into the standard vocal pedagogy curriculum.

Dr. Chuck Chandler is assistant professor of voice and director of undergraduate pedagogy at his alma mater, Florida State University. He is a highly sought after performer and master clinician all around the US. As a recitalist, Chandler maintains a particularly active schedule. Active in opera and oratorio, he is a well-rounded performer, comfortable in a costume or a tux. Chandler received his DMA and MM from University of Kentucky, and his BM from Florida State University.

Pedagogy | Seminarie 1

What you’re not supposed to hear

The aim of the presentation is to show as to what extent our understanding of the musical past is designed. The methodology is to let astonishing performances speak for themselves. The outcomes and implications will most suitably be discussed afterwards on an informal level by the participants. After each number, the participants will be given the opportunity to guess the name of the singer as well as the year of performance, before these are announced.

Sigfrid Carlioth studied the piano with the  legendary Swedish teacher Gunnar Hallhagen and graduated from the soloist class in 1992 at the Royal Academy of Music in Stockholm. He then learned piano tuning, while performing beneficial concerts with the aged masters and talented youngsters of Stockholm. To the alarm of the establishment he also conducted some exclusively nonprofit orchestral performances. He has also made historical studies of Swedish Christian folklore and the art of musical performance.

Pedagogy | Seminarie 2

“Sing for Life”: Singing Strategies for Parkinson’s Patients

This interactive workshop introduces vocal pedagogy methods for teaching the basics of singing to persons suffering from Parkinson’s disease, presenting vocal techniques for speech and song that are applicable to the conditions such as dementia, grief, and depression. Participants will improve their understanding of vocal aging and develop strategies for maintaining vocal strength and efficiency.

Dr. Brenda Smith, DMA, teaches studio voice, singer’s diction, and vocal pedagogy at the University of Florida in Gainesville, FL. She presents strategies that promote lifelong singing through healthy choral singing.

Professor Ronald Burrichter, MM, teaches studio voice and voice skills for instrumentalists at the University of Florida. He conducts a chorus of senior citizens residing in a retirement community in Gainesville, FL.

Pedagogy | Movement room

12.45-14.15 Lunch Break

This is a preliminary programme and is subject to change.